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    Wyświetlanie 1-3 z 3
    Tytuł:
    Modern documentary in the age of virtual reality: Deapening engagement with nonfiction storytelling through technological innovation
    Autorzy:
    Pomianowska, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/923107.pdf
    Data publikacji:
    2018-04-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    virtual reality
    spectatorship
    perception
    documentary storytelling
    immersion
    feeling of presence
    Opis:
    After decades of research, technological development as well as few discouraging setbacks, virtual reality (VR) appears to be on the cusp of its settled adoption. The incorporation of VR technology into the palette of everyday communication media is not only exciting for filmmakers and game designers, but also for every manner of storytellers: documentarians, journalists, educators, scientists – all professions involved in clarifying surrounding us reality and communicating about it. They all discovered that social change can be valuably stimulated by development of new technology – technology that serves in the same time as a classic medium to communicate and spread this news around. Considering the factors enabling us to capture and disseminate “a true story” in a highly captivating, immersive way (which previously has been preserved exclusively for entertainment and commercial productions), we should mention at least 3 crucial elements: technological innovation, psychological evolution of the viewer, application of VR beyond storytelling. The first two factors mutually interact and play off each other in terms of the changing threshold of perceptual tolerance as well as rising needs of the new spectator. The first part of this paper deals with the interdependency of these two elements. Structured conclusions will be enumerated as a practical reference for VR storytelling productions. The second part of the paper will deal with the third element enumerating the most inspiring cases from recent years – eye-openers for instigating social change, adding value and promoting wellbeing via VR technology. The engagement of VR in social change, innovation and nonfiction storytelling introduced the VR technology within the current media palette. It not only changes the nature of storytelling about reality, but fulfills the story that our reality builds.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 21, 30
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Refleksja z katedry
    Reflections from the Rostrum
    Autorzy:
    Bukojemski, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/920867.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    teaching
    documentary film
    dramaturgy
    subject
    idea
    storytelling
    guide
    Kędzielawska
    Opis:
    In his polemics with the Documentary Filmmaker Guide by Grażyna Kędzielawska, Michał Bukojemski claims that the notional apparatus, filmmaking methods, and production technologies described in the book do not adhere to the digital present day. The author believes that the teaching of documentary filmmaking in film school should begin with setting and describing the main goal, which is the film itself. Today’s documentary film has specific conditions, such as financing, distribution and shooting technologies. Speaking about various methods and practicing different forms of filmmaking are rather auxiliary goals that should be fulfilled in the course of studies. The author convinces us that both the subject and the story are crucial for the documentary film. And with them academic teachers should begin and end their teaching of documentary filmmaking.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 215-223
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Means of reproducing the individual past in W. Sebald’s novel Austerlitz
    Autorzy:
    Megela, Ivan
    Powiązania:
    https://bibliotekanauki.pl/articles/2177874.pdf
    Data publikacji:
    2022-03-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    bricolage
    photography
    memory
    trauma
    storytelling
    history
    documentary
    fiction
    verbal
    visual
    Opis:
    The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.
    Źródło:
    Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2022, 4(1); 81-86
    2543-9227
    Pojawia się w:
    Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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